Jose Mario Ansalone Ansalone



In the year 1978, I came across a painting by José Ansalone, Which called my attention. I tried to enquire about it but it turned out to be impossible. Nevertheless, I would remember it. It was ahead painted in acrylics, no bigger than 30 by 40 centimeters. In 1981, I was fortuitously given a catalogue about an exhibit that this painter was having in Spain. Then, I got to learn that he was Argentinean and his place of residence was Buenos Aires. In that catalogue, there was only one painting which had already shown pretty much evolution. Consequently, I could get in contact and receive some photos confirming the artist's quality, which I had previously noticed out of his first work piece in 1978. Once you face any of his work, you cannot disregard it. There is an element Charged with tragedy in it, Which cannot de disguised, not even when he means to do it. Based on a formal drawing, the figures try to get out of their place with a movement that at times seems rather clumsy, and that at times gets tangled, and that starts from a firstly organized pattern; then if (it is) necessary for its aim, it will be disarticulated, as if showing the other character we all have inside. The space to materialize his ideas has been growing through time. The majority of his figures are natural-sized, what sometimes makes me wonder if his works might not fit into the canvas. There are some themes that make him obsessive, but this is just a mere excuse to keep on growing up. Since quite a long time, I have kept a fairly spaced-out but steady correspondence which I still try to maintain, and as a critic, I always try to give some theoretical contribution for his works. In his letters, he repeats all the time that he discards theory and that he is only interested in practice. This happens when I ask him for some definitions related to a specific painting. He chooses an idea that catches his attention and then he develops it into what he calls "Series"; he exploits it until it gets exhausted, but when seeing his work, one can discover that after some time, he can go back to a figure as if he were helped by a character used in a previous work. Thus, he has series dedicated to "The Tango Musicians", another to "The Repression", which derived into the exhibit called "Unemployed Labor", the one on "The Travesties", which is also a recurrent idea, or the search for the identity in the series "History of Art", when trying to find the art line that retains him, he creates works on "The Big Masters". Thus, he paints versions of Caravaggio, Rubens, Velázquez, José Rivera, Goya , Manet. It is most gratifying for me to learn that there is still a painting made on an easel, and that Ansalone is a worthy representative of the same. That is to say, the idea and pattern, the material and the artist have on top of the trilogy that gives the impression of a never -ending one, that always any latest work can be the onset of another one. That is why I insist on the need of having more exhibits about his work. I know about his self-critical personality, about his frequent feeling of not giving all what is expected from him, and that is the reason why his participation is spaced-out in the world in which he is immersed: the World of Plastics.

Obras de Jose Mario Ansalone Ansalone

Galerías que representan a Jose Mario Ansalone Ansalone

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